Voicing the Cinema最新文献

Index 指数

Voicing the Cinema Pub Date : 2020-03-16 DOI: 10.5406/j.ctvz0hcn6.21

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Back Matter 回到问题

Voicing the Cinema Pub Date : 2020-03-16 DOI: 10.5406/j.ctvz0hcn6.22

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Acknowledgments 致谢

Voicing the Cinema Pub Date : 2020-03-16 DOI: 10.5406/j.ctvz0hcn6.3

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Pinewood’s Fiddler Fans Goldwyn’s Folly 松林镇的提琴手喜欢高德温的愚蠢

Voicing the Cinema Pub Date : 2020-03-01 DOI: 10.5622/illinois/9780252043000.003.0005

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Silencing and Sounding the Voice in Transition-Era French Cinema 转型时代法国电影中的沉默与发声

Voicing the Cinema Pub Date : 2020-03-01 DOI: 10.5406/j.ctvz0hcn6.6

H. Lewis

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Girls’ Voices, Boys’ Stories, and Self-Determination in Animated Films since 2012 2012年以来，动画电影中的女孩之声、男孩之故事与自我决定

Voicing the Cinema Pub Date : 2020-03-01 DOI: 10.5406/j.ctvz0hcn6.11

Robynn J. Stilwell

{"title":"Girls’ Voices, Boys’ Stories, and Self-Determination in Animated Films since 2012","authors":"Robynn J. Stilwell","doi":"10.5406/j.ctvz0hcn6.11","DOIUrl":"https://doi.org/10.5406/j.ctvz0hcn6.11","url":null,"abstract":"Since its first feature, Snow White (1937), Disney musical films have often centered on the coming-of-age experiences of young girls; however, the reliance on fairy tale models has often meant a highly conservative structure in which the girl “is won” rather than “wins.” The modern rebirth of the Disney musical with The Little Mermaid (1989) prefigures the 1990s rise of stories of girls’ finding their voices (both literal and metaphorical), often based on literary sources or true stories. In these films, music has a significant narrative role, since the “journey” is so often inward and therefore difficult to portray in image and action. Brave (2012) and Frozen (2013) build on traditional inward/spiraling “girl” storytelling tropes by doubling them with more external, linear “boy” trajectories. In both, two female characters orbit each other along their journeys. Brave is a sense-and-sensibility tale in which Merida already has a strong sense of self, and she and her mother learn from each other and bond (established with parallel songs at beginning and end). In Frozen (loosely based on Hans Christian Andersen’s The Snow Queen), the elder of the two royal sisters was originally written as a villain; after the songwriters delivered “Let It Go,” they report that the producers’ response was that “Elsa could no longer be a villain.” The emotive power of the song had deformed the narrative and dominates the film’s reception. The younger Anna rescues Elsa to rescue their kingdom; however, the price is the symbolic palace of selfhood that Elsa constructs during the extended prolongation of the song’s bridge. “Let It Go” is also in a line of showtunes from “Nobody’s Side” from Chess to “Defying Gravity” from Wicked, all associated with singer Idina Menzel and sharing musical traits that suspend the tonic between the dominant and subdominant poles, blurring harmonic drive, and giving the voice particular agency. “Let It Go” is the simplest of these, sitting well in even untrained voices, making it particularly gratifying for the many young girls who sing along to the movie and, in astonishing numbers, on YouTube.","PeriodicalId":193833,"journal":{"name":"Voicing the Cinema","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127875188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Vococentrism and Sound in Ingmar Bergman’s The Magic Flute 英格玛·伯格曼《魔笛》中的声中心主义与声音

Voicing the Cinema Pub Date : 2020-03-01 DOI: 10.5406/j.ctvz0hcn6.9

M. Citron

{"title":"Vococentrism and Sound in Ingmar Bergman’s The Magic Flute","authors":"M. Citron","doi":"10.5406/j.ctvz0hcn6.9","DOIUrl":"https://doi.org/10.5406/j.ctvz0hcn6.9","url":null,"abstract":"Bergman’s Magic Flute (1975) is one of the highlights of opera-film. It represents a splendid example of Bergman’s mastery of image and film technique, and a memorable interpretation of Mozart’s late opera. Except for chapters by Jeongwon Joe (1998) and Jeremy Tambling (1987), it has been underrepresented in research on opera-film. There is much more to be said, especially with respect to sound. Not only are Flute’s sound practices critical to the film, but its emphasis on vococentrism is unusual for an opera-film and also connects Flute to Bergman’s cinema as a whole. Many elements in the soundscape contribute to Bergman’s highly personal interpretation. One is the dry environment in the passages of spoken dialogue, recorded live and its contrast with the warmer environment in the musical numbers, which were prerecorded. The spoken sections impart a sense of intimacy and interiority, qualities found in other Bergman films, such as Persona, The Seventh Seal, and The Hour of the Wolf. Ambient noise occurs in some places, its use linked to certain moods and situations. Variations in the resonance of the vocal music add another element to the mix. This chapter focuses on three places in Flute. The second tableau, numbers 1-5, uses sound to delineate the juxtaposition of theater and cinema and establish a link between dry speech and interioirity. In the scene of Tamino’s crisis at “O ew’ge Nacht,” an expanded array of effects, including the acousmêtre and reverberation in addition to dryness, limn Tamino’s psyche and underscore a key moment of the opera. And at Pamina’s parental crisis in the first half of Act II, silence as well as sound plays an integral role. The striking sound design of Bergman and his team is crucial to the film’s aesthetic style, in which “less is more,” and its reputation as a landmark of opera-film.","PeriodicalId":193833,"journal":{"name":"Voicing the Cinema","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124680047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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FM Radio and the New Hollywood Soundtrack 调频电台和新好莱坞原声

Voicing the Cinema Pub Date : 2020-03-01 DOI: 10.5406/j.ctvz0hcn6.7

Julie Hubbert

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Monocentrism, or Soundtracks in Space 单中心主义，或太空配乐

Voicing the Cinema Pub Date : 2020-03-01 DOI: 10.5622/illinois/9780252043000.003.0013

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The Trouble with Onscreen Orchestrators 屏幕上的编排者的麻烦

Voicing the Cinema Pub Date : 2020-03-01 DOI: 10.5622/illinois/9780252043000.003.0009

{"title":"The Trouble with Onscreen Orchestrators","authors":"","doi":"10.5622/illinois/9780252043000.003.0009","DOIUrl":"https://doi.org/10.5622/illinois/9780252043000.003.0009","url":null,"abstract":"An orchestrator elopes with a composer’s beloved and then dies, leaving behind a pregnant widow and an incomplete melody. Discouraged but not defeated, the composer proposes, offering to adopt the orchestrator’s child and melody. Just before the composer conducts his new arrangement of the orphaned theme, a child is born. This synopsis describes one plot line within the Warner Bros. film, Four Daughters (1938), and its sequel, Four Wives (1939). Loosely based on a story by Fannie Hurst, the Four Daughters films appear fashioned specifically for musicological musing. But if the films’ intertwined creative crises receive a pat resolution, the film’s production was less tidy. This essay lends a careful ear to the offscreen voices of studio staff whose dissensions and compromises inflect the musical content and onscreen musicians of the films. Screenwriter Lenore Coffee, who replaced an “unreal and ridiculous” contortionist character with an orchestrator, waged battle with male colleagues for credit and narrative control. Collaborative construction of the fictional compositions—credited to Max Steiner but based on themes written by Heinz Roemheld and Max Rabinowitsch—was also initially muffled. After the onscreen orchestrator’s unfinished “Symphonie Moderne” became a central plot point, Steiner and his colleagues were impelled to concede, even celebrate, their shared compositional efforts more publicly. Drawing on sketches from the Max Steiner Collection (BYU) as well as scripts and production documents from the Warner Bros. Archives (USC), this paper considers how battles over creative control were waged through the conception, composition, and onscreen depiction of a musical work that became an unlikely vessel for anxieties over Hollywood’s intensely collaborative methods.","PeriodicalId":193833,"journal":{"name":"Voicing the Cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129574891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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